"The first difference is how I approach the playing," said Melissa, who will be performing Berlioz's Harold in Italy on May 6 and 8. A soloist versus a section player "requires a different kind of energy." As a leader of the viola section (the job of a section principal), her voice is representative of the whole section and texture. "In a solo spot, I'm out in front of the orchestra and need to make the sound really project." Although Harold in Italy is a well-known work for viola solo and orchestra, this will be her first performance of the piece. She's looking forward to "enjoying the roller coaster ride" of the solo experience!
Douglas Prosser—featured in Tomasi's Trumpet Concerto on April 29 and May 1—talked about the differences in the level of intimacy with the audience and also the trumpet sonority standing out front. "When you're cueing the section, you're ‘inside' the ensemble," he said. "A soloist has the opportunity to step out and get into his own personal interpretation and sound of the piece." He described Tomasi's Concerto as being a "playful and spontaneous conversation" between the soloist and the various orchestral sections. And audiences can expect the first movement to sound quite improvisatory, as the sections "play off of each other."
Harold in Italy also has an interesting "interplay" concept: a "duet" between viola and harp. Guest conductor Andreas Delfs and Melissa already have been in contact about some possible "staging" ideas.
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